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林風眠 Lin Fengmian 1900-1991 靜物 Still Life
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
彩墨 紙本
Ink and colour on paper
一九五九年作
Painted in 1959
68.5 × 68.5 cm. 27 × 27 in.
款識 林風眠 藝術家鈐印 (左下) 出版 1999年,《中國現代主義繪畫的先驅者——林風眠》,加拿大亞太國際藝術顧問有限公司,台北,第191頁
Signed in Chinese with an artist seal on bottom left LITERATURE 1999, Lin Fengmian – Leader of Chinese Modernism Art, Asia Pacific Art Promotion Ltd., Taipei, p. 191
來源 亞洲重要私人收藏 莫言顏色異,還是向陽心 林風眠的靜雅與堅毅 「西洋畫是偏重自然的,但如果推到最初的中國畫仍然是以自然中取到東西,一定要從自然裡面來,一定要從生活中來。」 ——林風眠 縱觀中國現代藝術史,許多藝術家專注於中西融合的探索,而歷經社會與生活動盪的劫難仍不懈深探於藝術的精神追索者,當屬現代主義先鋒林風眠。自留法歸來,他立足於提取中國傳統書畫、工藝與民間藝術的精神,同時汲取西方油畫的光影透視與構圖,經多年實踐,最終形成他獨樹一幟的形、色、線視覺系統與「寓圓於方」的方紙佈陣繪畫結構。展現在其三大風景、人物與靜物主題創作,各有風姿、獨領風騷。 向陽而上,逆流而行 上世紀五〇至六〇年代的中國正值大躍進時期,藝術上訴求「高大全、紅光亮」,然而林風眠並未隨波逐流,堅持「為藝術而藝術」的中西融合求索,成為中國研究立體派理論第一人。五〇年代初他辭去杭州藝專校長的教職,自1952年起定居上海南昌路的法租界。喜愛園藝花草的他,在此打造了一個玻璃小花房,心無旁騖延續以幾何造型描繪物像的探索。受塞尚(Paul Cézanne)「有規則的幾何形,往往是造型藝術的基石」主張的影響,林風眠從室內的桌案、窗戶、瓶花等各式不規則器物中尋找出線條的秩序,架構筆下的大千世界。五〇年代中後期起,他取材於家中實物,假想將物件置於不同場景,完成了大量充滿想象力的非對物寫生的靜物畫,這些作品兼容西方立體派表達與中國畫的寫意神韻,畫面充實飽滿,多以暗色襯托明亮的鮮花水果等,創作進入成熟的全盛階段。而在其花卉主題的作品中,「向日葵」為不多見的描寫。此花天性向陽而生,瀲灩圓潤的黃花代表了「溫暖」與「勇氣」,指涉了林風眠堅強不屈的精神力量與畢生的人生信仰,「向日葵」最早可見於其1940年代的《漆屏》,據可考出版,顯示其畢生僅只9件作品曾出現此太陽花,當中有4件完成於1966年文革之後。文革前的作品僅只五件,是次呈現的《靜物》即為其一,而其餘三件分別已被納入上海中國畫院、上海美術家協會收藏。彰顯了《靜物》之可貴及特出性。 生韻閃耀,動靜兼備 「我為什麼採用方構圖呢?這是中國宋畫的傳統。」 ——林風眠 《靜物》一作採用均衡中正的方紙構圖,沿襲宋畫的傳統,但加入了西方的透視與色彩,展現林風眠個人化的變革,作品構成可見方圓幾合造型的無窮變化,極富巧思,開朗而暢達,其以單點透視描繪一素樸瓦盆中昂揚盛開的向日葵與球形玻璃魚缸,它們佔據畫面三分之二,一高一低靜置於鋪著方巾的圓桌之上,此方桌與梯形的花盆、背景的窗扉與小花瓶相呼應。而圓形體則大大小小地呈現在魚缸、向日葵花蕊,為作品帶來躍動的生機與動感。此外,他以簡馭繁地以弧形勾勒出游動的金魚和水草,當中留白的盆水呼應著刻意留白的天窗,展現光線躍動的軌跡。而以重彩點染如星辰的花朵正盛放著展露風姿。作品在動靜、方圓、明暗間達至完美的平衡,充盈著堅定的力量。 墨色和鳴,生生不息 「林風眠雖然是留學法國,但他在繪畫創作方面的成就不是對歐洲繪畫藝術的發揚,而是從歐洲繪畫的角度重新發現中國繪畫藝術的生命活力。在他之前,還沒有一個畫家在這條路徑上達到他所達到的高度。」 ——水天中 林風眠善用深色作基調,本作以墨彩融合群青色為主調,漸次加入如靛藍、酒紅、墨綠等冷色調,顏色含蓄卻充盈著變化,當中墨與彩渾然一體,雖未刻意強調光影,但深淺不一的藍與黑交疊之下虛實相生,一色玄青中透出和煦的陽光,濃郁檸檬黃的向日葵在黛綠渾圓的葉片裡綻放而出,花瓣具向上的動勢,將光源集中於此,若暗示向日葵在黑暗中只憑一束光便能頑強成長。盆栽與魚缸中丹青色的游魚如生命的動靜相生,窗前淡黃色的小花如圓潤溫柔的棉絮,與前兩者蓬勃的生機形成反襯,若展現生命的不同形態,韌性與恬靜共存。水粉與墨如中西合璧般和諧交融,彰顯素雅的氣韻。 艾青曾在《言之鑿鑿,令人心折》描述林風眠:「他意識裡貫穿著自己的思想,他畫花卉、靜物,但不能把它當一普通的靜物畫一樣看待,他的畫很有層次。」命運多舛卻永保謙遜與韌勁的林風眠,用其不屈的一生帶領了中國繪畫的革新,他將向日葵般的汩汩生命力融入墨彩中,與世人共勉!
PROVENANCE Important Private Collection, Asia In Hues Diverse, the Sun Still Shimmer in One’s Heart The Serenity and Determination of Lin Fengmian's Artistic Reverie "Western paintings focus on nature, but if we trace back to the origins, Chinese paintings derive from nature. It must come from nature, from life." ——Lin Fengmian Surveying the history of modern Chinese art, many artists have dedicated themselves to the exploration of East-West integration. Amid the societal and life upheavals, one relentless seeker of artistic spirit stands out as a pioneer of modernism – Lin Fengmian. Returning from France, he rooted himself in extracting the essence of traditional Chinese painting, craftsmanship, and folk art, while incorporating the Western techniques of light, shadow, and composition. After years of practice, he developed a distinctive visual system of form, colour, and line, along with a unique painting structure of "encircling the square". His works in three major themes – landscapes, figures, and still life – each radiates individual charm and artistic prowess. Towards the Sun, Against the Tide In the 1950s and 60s, China was amid the Great Leap Forward, yet Lin Fengmian did not drift along. He adhered to the pursuit of East-West fusion for the sake of art, becoming a pioneer in the study of Cubist theory in China. In the early 1950s, he resigned from the position of dean at the Hangzhou Art College and settled in the French Concession on Nanchang Road in Shanghai. Exploring irregular objects such as desks, windows, and vases indoors, he sought the order of lines and constructed a myriad of worlds on paper. Starting in the mid to late 1950s, he drew inspiration from household items, envisioning them in various settings. He produced a plethora of imaginative non-representational still life paintings, seamlessly blending Western Cubist expression with the free-spirited charm of Chinese painting. This marked the peak of his artistic maturity. And among his Cubist floral works, the depiction of "sunflowers" is particularly rare. Symbolizing warmth and courage, the sunflower mirrors Lin Fengmian’s resilient spirit. Although he painted sunflowers in various pieces throughout his life, only 47 artworks featuring sunflowers have appeared in auctions over the past 40 years. Among these, only nine have clear and traceable publication sources, with the majority created after the Cultural Revolution in 1966. Due to the artist’s extensive loss of works during the Cultural Revolution, surviving early works from before that period are exceedingly scarce. Among them, only five feature sunflowers as the main subject, with this presentation of?Still Life?being one of them. The remaining three are held in the collections of the Shanghai Chinese Painting Academy and the Shanghai Artists Association, underscoring the preciousness and exceptional importance of?Still Life. Vibrant Life, Harmonizing Motion and Stillness "Why do I adopt square composition? It is the tradition of Chinese Song painting." ——Lin Fengmian The artwork?Still Life?employs a balanced and symmetrical square paper composition, inheriting the tradition of Song painting but infused with Western perspectives and colours. This reflects Lin Fengmian’s transformation, with the composition revealing infinite variations of shapes, combining circles and squares ingeniously. Using a single-point perspective, he depicts a simple flowerpot containing vibrant sunflowers and a spherical glass fish tank. Occupying two-thirds of the canvas, one elevated and the other placed lower, they rest on a table covered with a square cloth. The square table, trapezoidal flowerpot, the background window shutters, and a small vase echo each other harmoniously. Circular forms, seen in the fish tank and sunflower centres, bring dynamism and vitality to the composition. Lin skillfully uses arcs to outline the swimming goldfish and aquatic plants, leaving white spaces in the basin to echo the skylight, showcasing the dynamic trajectory of light. The flowers, painted in heavy, star-like strokes, bloom with grace. The artwork achieves a perfect balance between motion and stillness, square and circle, light and shadow, exuding a firm sense of power. Ink that Echoes, Resilient Vitality "Although Lin Fengmian studied in France, his achievements in painting were not about promoting European art; instead, he rediscovered the vitality of Chinese painting from the perspective of European painting. Before him, no painter had reached the heights he achieved on this path." ——Shui Tianzhong Lin Fengmian masterfully employs dark colours as the foundation, with this piece predominantly blending ink tones with cobalt blue as the main colour. Gradually introducing cold tones such as indigo, wine red, and ink green, the colours are subtle yet rich in variation. The fusion of ink and colour creates a seamless integration, not explicitly emphasizing light and shadow. The overlapping shades of blue and black create a sense of depth, allowing warm sunlight to pierce through the deep blue, while the rich yellow of the sunflowers bursts forth amidst the dark green leaves. The petals, with an upward motion, concentrate the light source, hinting at the sunflower’s tenacious growth in the darkness. The red and blue fish in the pot and the delicate yellow flowers in front of the window contrast with the exuberant vitality of the sunflowers and fish, representing different forms of life – resilience and tranquillity coexist. The fusion of watercolour and ink, like a perfect blend of East and West, highlights the understated elegance of the artwork. Ai Qing once described Lin Fengmian:?"His consciousness penetrates his thoughts. He paints flowers and still life, but they cannot be viewed like ordinary still life paintings; his paintings have depth."?Despite the twists of fate, Lin Fengmian, ever humble and resilient, infused the unwavering vitality of sunflowers into his ink, leading a revolutionary transformation in Chinese painting – a testament to life’s enduring spirit for all to contemplate.

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